ZESZYTY NAUKOWE TOWARZYSTWA DOKTORANTÓW UJ NAUKI S , NR 24 (1/2019), S. 131–142 E-ISSN 2082-9213 | P-ISSN 2299-2383 POŁECZNE WWW. .UJ.EDU.PL/ZESZYTY/NAUKI- DOI: 10.26361/ZNTDSP.10.2019.24.7 DOKTORANCI SPOLECZNE HTTPS:// .ORG/0000-0002-9842-1676

ORCID AGATA PAWLINA

JAGIELLONIAN UNIVERSITY IN KRAKÓW F PHILOLOGY INSTITUTE OF ORIENTAL STUDIES ACULTY OF E-MAIL: AGATA.PAWLINA@ .UJ.EDU.PL

DOCTORAL SUBMISSION: 30.12.2018 A : 11.07.2019

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Traces of the Ottoman Musical Tradition in Early 20th-Century Western-Style Art Music

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BSTRACT The (Türk Beşleri) is a name given to a group of composers whose works set out the direction for modern Western-style music. After the proclamation of the Republic of in 1923, the new generation of musicians trained in Europe had been given the task to establish a new musical tradition for the modern Turkish society. It was supposed to replace the Ottoman musical tradition. According to outlines given by the Turkish government, the new “National Music” (Millî Musiki) should encompass ele- ments of Western-style art music and melodies of Turkish folk music. Five composers were especially successful in fulfilling this task, Necil Kâz , Ulvi hey brought to live music that was appreciated by Kemal Atatımürk Akses, himself . Although they were supposedCemal Erkin, to avoid Ahmet any Adnan elements Saygun of the and Ottoman Cemal musical Reşit Rey. tradition, By their even compositions, in the most pop t u- lar works of this period, one can hear influences that were not to be heard in the Millî Musiki. In this paper, the author presents the main guidelines and historical overview of the “musical revolution” which took place in Turkey of the early-republican period (1923–1938). Next, provides a list of compositions which prove her thesis that com- posers born in 1904–1908, as the youngest generation of the ’s elite, did not completely reject the Ottoman musical heritage in which they were raised and brought some of its elements into 20th-century Western-style Turkish classical music.

KEYWORDS

Turkish Music, Ottoman Music, Turkish Five, Milli Musiki

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Introduction and Basic Musical Terms

In 1923 the Republic of Turkey was proclaimed. Its first president, Kemal Ata- türk (1881–1938), dedicated his life to conducting wide-ranging legal, political and social reforms in his newly founded secular nation-state. The very im- portant ideological framework of those reforms was the desire to cut off ties to the Ottoman Empire’s legacy, regardless of possible cultural loss for the society. Ayhan Erol accurately worded it saying: “Atatürk’s ideal was to build up a «na- tion» from the ashes of the empire. The state tried to construct an official (westernized) culture which underestimated the cultural needs of the .”1 It is generally believed that the most important cultural changes in Turkey of the early-republican era (1923–1938) took place in the fields of lan- guage and customs, especially those related to Islam. This paper aims to show that Western-style Turkish classical music (field of culture sometimes forgotten in the context of the westernization process in the Republic of Turkey) had been a significant symbol and medium of change.2 Before we start evaluating how the ideal of new national Turkish music had been formulated and put into practice by the first generation of modern composers, called today The Turkish Five, it is crucial to define basic musical several possible classifications of music genres and a few definitions of “classical”terms and orconcepts “art” music used inas thisone paper.of them. Contemporary3 The author musicologyunderstands formulated “classical music” or “art music” in three ways. First is the professional way—as being performed by professional musicians educated in specialized institutions of musical education. Second is highly formalized—as written works regarding its theory and history and formalized system of transmitting its tradition, regardless of developing or not musical notation. Third is elitist—as being created and performed for or by the members of the highest social stratum at

1 A. Erol, Music, Power and Symbolic Violence, The Turkish State’s Music Policies During the Early Republican Period, “ 2 It is important to remember that the early-Republican Turkish government was not the first to perceive music as a symbolEuropean of modernizat Journal ofion Cultural process Studies” within 2012, the state. No. 1 Throughout (15), p. 39. the most of the 19th century, remaining sultans of the Ottoman Empire, starting with Selim III (1789–1807) and Mahmud II (1808–1839), conducted reforms within their court’s cultural institutions and Western-style classical music had been played by professional musicians in and beyond since then. See more about the westernization process of the musical culture in the Ottoman Empire in another Author’s paper. A. Pawlina, Muzyka klasyczna Europy w Imperium Osmańskim –2. 3 See, e.g. Music, [in:] The New Grove Dictionary of Music and Musicians, eds. S. Sadie, J. Tyr- rell, M. Levy, New York–London, 2002.„Przegląd Orientalistyczny” 2014, nr 1

TRACES OF THE OTTOMAN MUSICAL TRADITION... 133 ______some point of its history. With those three features in mind, to define “Western- style classical music,” instead of in-depth musicological definition, the author wishes to use simple popular connotation known by all Readers—it is music that the Reader knows from European philharmonics and opera theaters. In the context of contemporary Turkish musical culture that term can be ap- plied to all compositions created by Turkish artists in the 20th and 21st-century using principles of European compositional techniques and Western musical instruments. On the other hand, ‘Ottoman-style classical music,’ as a phenomenon, not particular known, requires some further remarks. It emerged as the youngest of art music traditions of the Muslim at the court of the Ottoman Empire’s rulers in the late 16th century. Its practice had been transmitted by oral tradition (within close master-pupil relation) in meşkhanes—one of the cultural facilities of sultan’s court and Mevlevi Order.4 Its theory encompasses elements of and Persian musical traditions and had been described in numerous treatises, called edvar, within the period of 16th–21st century. Even though Western-style and Eastern-style art music shares an ance5 s- tor—ancient Greek music theory, throughout centuries they became very different from each other. The most significant difference in theory of music, one that had been used by Kemalists6 to build a strong anti-Eastern music argument, was its sophisticated monophonic system of melodic patterns called makam and rhythmic patterns called usul,7 juxtaposed with European

4 For detailed definition of meşk in English see: Fine Art, Fine Music, Con- trolling Turkish Taste at the Fine Arts Academy in 1926, “Yearbook for Traditional Music” 2000, Vol. 32, p. 120. J. M. O’Connell, For further readings in English on the Ottoman music’s history and theory see: The 5Ottoman Musical Tradition, [in:] The Cambridge , ed. S. Faroqhi, vol. 3, New York 2006, pp. 398–407; D. Ertan, Cycles and Peripheries, An Ottoman “Kitâb elC.-Edvâr” Behar,, “Asian Music” 2007, No. 1 (38); W. Feldman, Music of the Ottoman Court , Makam, Composition and the Early Ottoman Instrumental Repertoire, Berlin 1996; Writing the History of “Ottoman Music” 6 A term used to describe followers of Kemalism or Atatürkism—ideology based on Ke- mal Atatürk’s, eds. M. visionGreve, of E. aOğuz, modern O. Nobrega, Turkey, Würzburgin which culture 2015. and society was to fully embrace Western way of living. For details see e.g.: S. J. Shaw, E. K. Shaw, Historia Imperium Osmań- skiego i Republiki Tureckiej – 7 For further readings in English on Middle-Eastern classical music’s modal system see: A. Shiloah, Scales, Modes and, t. Rhythms2, tłum. B., [in:] Świetlik, Music Warszawa in the World 2012, of Islam, pp. 562 A Socio585.-Cultural Study, Detroit 2001. On Turkish makams and usuls: E. Popescu-Judetz, A Summary Catalogue of the Turkish Makams Makam, Modal Practice In Turkish Art Music, Wash- ington 1977; O. Yarman, A Comparative Evaluation of Pitch Notations in Turkish Makam Music, Abjad Scale & 24, -İstanbulTone Pythagorean 2010; K. Signell, Tuning – 53 Equal Division of the Octave as a Common

134 AGATA PAWLINA ______polyphony, especially tonal harmony.8 Tension and disputes between practi- tioners of both traditions, Western-style and Eastern-style classical music, were an important part of public debate and Turkish culture as a whole throughout all 20th century, as we will see below.

Millî Musiki—The National Music and “musical revolution”9 (1923–1938)

Musical reform policies were indicative of the overt po- litical strategy of situating the Ottoman past in opposi- tion to the bright future of an alliance with Europe.

Kathryn Woodard, Music Mediating Politics in Turkey10

For Kemal Atatürk and his political advisors for reforms in the musical edu- cation system and in the music itself were no less important than those con- ducted in other fields of Turkish cultural life. Ideological principles of those reforms had been formulated by Ziya Gökalp (1876–1924), influential sociolo- gist and philosopher, often characterized as the father of . In the second part of his book-manifesto entitled “The Principles of Turkism” (tur. Türkçülüğün Esasları), in short chapter he describes the current state of music known in Turkey and states that the invention of a new national-style music (tur. Millî Musiki) is essential for the foundation and cultural develop- ment of modern Turkish society. He gives very specific guidelines (quoted in

Grid, “Journal of Interdisciplinary Music Studies” 2007, No. 2 (1); S. Yöre, Makam in Music as a Concept, Scale and Phenomenon, “Zeitschrift für die Welt der Türken/Journal of World of Turks” 2012, No. 3 (4); Maqām Traditions of Turkic Peoples, eds. J. Elsner, G. Jähnichen, Berlin 2006; The Structure and Idea of Maqām, Historical Approaches, eds. J. Elsner, R. P. Pennanen, Tampere 1997. 8 See: Western Polyphony and Harmony, [in:] The New Grove Dictionary..., op. cit. 9 In following chapters the term “musical revolution” will be written without quotation mark. The author believes that we can call changes in the early 20th-century music in Turkey as a “revolution” because of their impact on high culture of Turkey of the early Republican period. It seems that Ayhan Erol would agree with that term, saying “For Atatürk, the revolu- tion had to be an all-encompassing undertaking affecting every aspect of life in Turkey. Thus, all kinds of reforms implemented by the state were perceived as a revolution. There is no doubt that music had an important place within reforms that Atatürk wanted to realize. The music reform was an example of the most important symbolic violence aimed at imposing a particular vision of the state”. A. Erol, op. cit., p. 40. 10 K. Woodard, Music Mediating Politics in Turkey , Kindle 5 Edition 2011, p. 4.

TRACES OF THE OTTOMAN MUSICAL TRADITION... ______135 full below) for future composers and performers of music. Guidelines that had been carried out by the newly founded state-endorsed cultural institutions within a few years after publishing “The Principles of Turkism” in 1923.

Nowadays [in Turkey] we encounter three types of music, Eastern music, Western music and folk music.11 But which one of those can we deem as our national music? I have shown above that we should regard Eastern music as morbid and foreign to our nation [tur. hem hasta hem de gayrî millî]. Folk music is a part of our culture, Western music— a part of our new civilization and both cannot be regarded as foreign. Thus, our national music must emerge from a fusion of folk music and Western harmony [here means, polyphony]. Our folk music gave us plenty of melodies. If we gather those melodies and combine them with Western compositional techniques we will gain music that will be both— national and European. […] And that is precisely our program of musical change with accordance to the principles of Turkism. The next step—putting those guidelines to prac- tical use, lays in hands of our future national musicians.12

As we may see, Gökalp uses very emotional language in his description of the music. Nowadays, it is clear that the purpose of it was rather ideological than scientific. Gökalp’s historical overview of Ottoman-Turkish and European music, mentioned in the quote, is only one page-length, vague and significantly diverges from musicological knowledge.13 He focuses on the most obvious differences between musical traditions of the Ottoman Empire and Europe and values the first as boring, hermetic, too ancient for modern times and unable to incorporate any changes. Thus, he argues, it should be completely abandoned and replaced by European polyphony with elements of Turkish folk music. Even though Gökalp’s knowledge of the Ottoman-style art music was clearly insufficient, his opinions on it turned out to be crucial for the musical culture of the young Republic of Turkey. It seems that by publishing this short chapter regarding music, he formulated the main purpose of the musical revolution— creating Turkish-style music, a new national-style genre in European classical music. For political purposes, as soon as possible, Turkish-style music, in terms

11 Turkish counterparts of those musical terms used by Gökalp are as follows: Şark musikîsi, Garp musikîsi, Halk musikîsi, Z. Gökalp, Türkçülüğün Esasları, ed. 7th, Istanbul 1968, p. 130. 12 Ibidem, pp. 130–131 [The author’s own translation]. 13 Gökalp’s views on the Ottoman musical culture had been widely discussed and criti- cized by Turkish and non-Turkish musicologists. The list of references on this topic is pro- vided by Erol, see: A. Erol, op. cit., p. 41. For further readings in English on his contemporary Modernizing Reforms and Turkish Music in the 1930s, “Turkish Studies” 2001, No. 1 (12). critics see also: O. Tekelioğlu,

136 AGATA PAWLINA ______of aesthetics and cultural value, had to achieve level equal to e.g. 19th-century Russian, Polish or Hungarian-styles in music. The first step to obtaining this objective was conducting reforms in Turkish musical education. In 1924 the Law on Unity of Education (tur. Tevhîd-i Tedrîsât Kanunu) established a state-operated school of music in called Musiki Muallim Mektebi. Its main purpose was to educate teachers of Western-style art music for future generations of composers and performers. The first beginning of school year there took place on 1 September 1924, with only six students enlisted.14 The same Law abolished Ottoman institutions of musical education and outlawed teaching Ottoman-style art music. (Sanayi-i Nefise Encümeni), whose purpose was overseeing15 the process of change in fine arts and musical culture, had been establishedFine Art a Commissionfew months later.16 During next four years all educational institutions and musical bands of Eastern and Western-style music, which existed during late Ottoman period in Istanbul, had been either abolished or reformed, renamed and moved to Ankara, the new capital city of Turkey. The most important of those, former imperial military band, now “newly” established orchestra undertaking the name of Riyaset-i Cumhur Musıki Heyeti (The Orchestra of the President of Republic) had been moved to Ankara on 27 April 1924.17 The eastern-style

Mevlevi Order the last existing institutions of education and performance of it hadmusical been tradition banned. suffered greatly in 1925 when along with abolition of the Institutional part of the musical revolution had been successfully progress- ing,18 but still in the early 1930s, Kemal Atatürk was not satisfied with its

14 See: Çok Sesli Batı Müziğinin Türk Modernleşmesindeki Önemi, [in:] 38. ICANAS (Uluslararası Asya ve Kuzey Afrika Çalışmaları Kongresi) 10–15.09.2007, vol. 1, Ankara 2009, p. F. Kılıç, The first conservatory of the Ottoman-style classical music in the Republic of Turkey 15 459. Türk Musıkısı Devlet Konservatuvarı is now a part of Technical University of Istanbul [online] http,//www.tmdk.itu.edu.tr/en/ had been established about fifty years later, in 1975. 16 Fine Art, Fine Music..., op. cit., p. 132. main/page_detail/2517 [access: 11.07.2019]. Cumhurbaşkanlığı Senfoni Orkestrası (Presiden- tial SymphonyJ. M. O’Connell, Orchestra) and nowadays it remains one of the most prestigious institutions of WesternIn 1935-style its classicalname had music been inchanged Turkey. to It seems to be proud of its Ottoman roots and celebrates its nearly 200 years-existence (1826–2018) [online] https://www.cso.gov.tr/tar 304hccedile.html [access: 11.07.2019]. 18 For further readings in English on timeline and details of musical revolution in Turkey see: Fine Art, Fine Music..., op. cit.; in Polish: A. Pawlina, Turkizm w muzyce. Związki muzyki i polityki w młodej Republice Tureckiej (1923–1938) J. M. O’Connell, Daleki i Bliski. , „Wrocławskie Studia Erazmiańskie” 2018, t. 12: Orient

TRACES OF THE OTTOMAN MUSICAL TRADITION... 137 ______achievements. In 1934, in one of his opening speeches for the Turkish Parlia- its priority. As soon as possible, modern national Turkish-style music, imagined byment, Ziya he G statedökalp, thatshould the Ministrybe brought of Cultureto life byshould legal regard and further musical institutional reforms as means. Only with this objective accomplished, the modernization process of Turkish culture will reach its “universal level.”19 In the framework of Kemalist ideology “universal” always meant “Western” or “European.” As a result of this speech, in 1934 the Ottoman-style classical music had suffered final blow— it had been formally banned from the radio broadcasts. Although the legal ban had been revoked two years later, in practice, marginalization of the Eastern- style Turkish classical music (as it started to be called from now on) in public space continued until the 1970s.20 When the Eastern-style art music suffered political censorship and strug- gled to survive, Turkish folk music, a phenomenon redefined by the Kemalists, became the main field of research in newly founded educational institutions. Ankara Devlet Konservatuvarı) had been estab- lished in 1936 and two years later, as a part of it, specialized Archive of Turkish AnkaraFolk Music State (Türk Conservatory Halk Ezgileri ( Arşivi) was founded. In 1937– r, those institutions organized scientific ethnomusicological expeditions to vari- ous regions of to gather and analyze Turkish folk music.1957, every yea

Türk Beşleri—The Turkish Five. Works Influenced by Ottoman Musical Tradition

With institutional and educational background established, the first generation of modern Turkish composers could finally bring to life Western-style Turkish art music as it was imagined by Turkey’s authorities. Five composers are deemed to be especially i (1908–1999), Hasan Ferit Alnar (1906– –1972), (1904nfluential– whileAhmet fulfilling Adnan this task,Saygun Necil (1907 Kâzım–1991). Akses The idea for their collective name, “The1978), Turkish Ulvi Five,” Cemal seems Erkin to (1906 be based on theCemal name Reşit of 19 Reyth-century creators1985) andof the Russian national style in music called

19 See: S. Y. Ataman, Atatürk ve Türk musikisi, Ankara 1991, p. 4. 20 Further readings in English on how the Ottoman-style classical music survived the period of its neglecting in the official republican debate and culture and gained a name of “Easter-style Turkish classical music” see: W. Feldman, Cultural Authority and Authenticity in the Turkish Repertoire, “ In the Time of Alaturka, Identifying Difference in Musical Discourse, “ Turkey’s Classical Music, Asiana Class Music” Symbol 1990,, “Asian No. Music” 1 (22); 1980, J. M. O’Connell,No. 1 (12). Ethnomusicology” 2005, No. 2 (49); K. Signell,

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“The Mighty Handful” or simply “.”21 By attributing this name on the first generation of Turkish composers of the Republican era, Turkish re- searchers are symbolically expressing the fact that art reached the desired level and became an equal and important part of the modern history of Western music. Indeed, all members of the Turkish Five dedicated their knowledge, skills and creativity to Atatürk’s vision of modern Turkish musical culture with a full- hearted commitment. their careers by being sent to Europe for one year-length musical training as a part of a scholarshipEach funded of them, by the except state the in yearsoldest 1924Cemal– Reşit Rey, started Akses and Hasan Ferit Alnar studied in Vienna, in Prague, 22 Upon coming back to Turkey they1928. were Necil not Kazım only skillfully composing pieces inspired by Turkish folk music, but also took an Ulviimportant Cemal part Erkin in inethnomusicological Paris. research in Anatolia and in establishing modern musical and educational institutions (bands, orchestras, music halls, etc.). They personally knew Turkish authorities, including Kemal Atatürk and 884–1973), the second president of the Republic, and occasion- ally they were creating music ordered specifically by them.23 Therefore, their İsmetartistic İnönü efforts (1 were significantly influenced by the cultural policies of the state. Ça- ğdaş Türk Müziği attendedIn the the late 4 th1940s Anglo and-Turkish early Music 1950s, Festival Contemporary in Ankara, Turkish was “most Music impressed (tur. by Turkey’s musical) flourished. progress” George and commented Weldon, English in detail conductor some works who inof 1951“five main Turkish composers.” According to him, each of them “appears to have a creative style of his own, and their output includes all types of music, ranging from symphonic works to oratorio and opera. […] There are, of course, many younger composers developing on their own lines, but under the guidance of those already established.”24 Max T. Krone, another conductor who attended the same festival, in his review, unknowingly confirms that Gökalp’s vision of Millî Musiki had been brought to life: “Saygun’s is a new and refreshing voice in

21 All of them lived in Saint Petersburg in the second half of the 19th century, Mily Balaki- -Korsakov. 22 E. E. Kaya, Cumhhuriyet Sonrası Müzik Politikamız ve Batıya Yönelim, „SBArD Sosyal rev, Alexander Borodin, Cesar Cui, Modest Mussorgsky and Nikolai Rimsky 23 The famous example of that is given by the history of creation of the first Turkish opera “BilimlerÖzsoy” Araştırmaby Ahmet Dergisi”Adnan Saygun.2011, no. Atat 17, ürkp. 118. himself choose the topic—the Turkish-Iranian friendship, for the occasion of diplomatic visit of Shah of Mohammad Reza Pahlavi. “Özsoy”’s premiere took place in Ankara on 19 June 1934. For further details see e.g.: K. Woodard, op. cit. 24 G. Weldon, Music in Turkey, “ –30. Tempo, New Series” 1951, No. 20, pp. 29

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Western music. He is a scholar in the field of folk music […] and his music has a rhythmic, melodic and harmonic flavor that smacks both the East and the West. […] He has arranged many Turkish folk songs for the chorus.” But even though “national composers” were supposed to avoid25 any ele- ments of the Ottoman musical tradition, in a small part of the Turkish Five’s works, one can hear influences that were not to be heard in the Millî Musiki. Those Ottoman-style inspirations can be traced either in terms of composi- tional techniques (e.g. using Ottoman-Turkish instruments, harmonizing Ot- toman-Turkish composer’s pieces, incorporating elements of Ottoman-Turkish modal system into melodic progression, etc.) or in non-musical elements (e.g. title or, in vocal music, chosen topic and plot) of works listed below:26

Hasan Ferit Alnar (1943)—in 1st and 2nd movement melodic progression is influenced by Ottoman-Turkish makam Hicaz. CelloKanun Concerto Konçertosu (1944– —the first musical piece in which Western-style orchestra accompanies Eastern-style instrument solo, kanun—kind of large zither, one of the main instruments in Middle Eastern51) classical makam music; significantly influenced by Ot- toman-style art music. Those two pieces are composed in Western-style, but Hasan Ferit Alnar composed also numerous pieces in Eastern-style as the only one from The Turkish Five. He was kanun- player himself.

Necil Kaz İtri’nin Neva Kâr Üzerine Scherzo for orchestra (1969–70)—Itri was the Ottoman com- poser whoım lived Akses in late 17th and early 18th century; in the piece Akses used exact melodies of Itri’s Neva Kâr composition and harmonized it in scherzo form. Bir Divan’dan Gazel (1976)—song for tenor solo and orchestra; divan in classical Ottoman literature is a compilation of poems and gazel is one of the classical forms in Ottoman po- etry and art music. —a melodic progression of the 2nd movement is influenced by Ottoman-Turkish makam Bestenigâr. ViolaMimar Concerto Sinan (the (1977) 1980s)—unfinished opera (only 1 act exists); Mimar Sinan was the fa- mous Ottoman architect, lived c. 1490–

1588.

M. T. Krone, Music in Turkey, “ 2526 The author gathered here list of pieces influenced by the Ottoman musical tradition or the Ottoman culture as a whole, for Musicfurther Educators investigation Journal” in the 1952, future. No. Titles2 (39), are p. 28. given along with years of creation, musical genre and a short explanation of possible source of inspira- tion.

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Köçekçe. Orkestra için dans rapsodisi. (1943)—orchestral suite; köçekçe was a piece of danceUlvi Cemal music Erkin played as an accompaniment for male dancers dressed as women, phenom- enon popular in urban Ottoman culture. 2nd Symphony (1948– —its third movement called Allegro alla köçekçe; see above.

1958)

Karagöz (1930–31)—symphonic poem; karagöz is the traditional Turkish , popularCemal Re duringşit Rey Ottoman times. Çelebi (the 1940s)—opera; its plot is based on the life of Çelebi Mehmet Efendi, Ottoman musician of the 18th century. In one of the tenor’s arias Re quoted Ottoman- -Turkish song (şarkı), composed by Müezzin Çelebi in the 18th century and used Ot- toman-Turkish tambourine def in instrumental accompaniment.şit Rey Fatih — n- queror was the sultan of the Ottoman Empire in 1444– –1481; his main (1953) symphonic poem; ‘fatih’ in Turkish means ‘conqueror;’ Mehmed the Co Sultan Cem (1922–1923)— – 1446 and 1451 Mehmedachievement II, send was to the exile conquest after being of Constantinople defeated by his in brother1453. Bayezit. opera; Cem Sultan (1459 1495) was the third son of Sultan Ahmet Adnan Saygun Oratoryosu (1942)—oratorio based on poems of Yunus Emre, Turkish folk poet of 13th/14th century; Saygun uses in it mostly elements of Turkish folk music but in some fragments (bass arias) Ottoman makams’ can be felt in melodic progressions and ney, kind of flute, that had been used in Mevlevi Order’s ceremonies, is being used in in- strumental accompaniment. 2nd —melodic progression is influenced by Ottoman-Turkish ma- kam Bestenigâr. Violin Quartet (1957) Conclusion

Until this day only a few of Turkish Five’s compositions inspired by Ottoman- -Turkish music had been analyzed in detail using musicological methodology.27

Köçekçe or Hasan Ferit Alnar’s Kanun Konçertosu, were the most popular works Itof isthe worth period to and emphasize, are still often that performed some of those and pieces,recorded like nowadays. Ulvi Cemal The Erkin’s ques- tion is—if the first generation of Turkish national composers clearly agreed with state’s musical policies, why would they use elements of Ottoman musical culture, deemed as “morbid” and “primitive,” as inspiration for their music?

27 See: Türk Beşleri’nin Eserlerinde Gelenekli Müziklerimize İlişkin Unsurların Kullanımları ve Bu Unsurların Kullanımları Ekseninde İki Örnek Piyano Eserinin Analizi, [in:] 38. ICANAS M.(Uluslararası Aydıner, Asya ve Kuzey Afrika Çalışmaları Kongresi), vol. 1, Ankara 2009 and references to that paper.

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Scientific intuition and reasoning bring us to the conclusion that it had been caused by the fact that all composers of the Turkish Five were born in the late Ottoman period, in the families of high social stratum. Birth and growing up in Jerusalem, Ahmet Adnan Saygun in Izmir, Necil Kaz Erkinthe biggest in Istanbul) cities of influenced the Ottoman on them.Empire They (Cemal were Re exposedşit Rey in to the Ottoman ur- ban culture in which Eastern musicalım Akses,styles flourishedHasan Ferit for Alnar centuries. and Ulvi Progres Cemals- ing their musical education and careers under the political supervision of Tur- key’s Kemalist government, they focused on Western-style music. However, they did not want to completely neglect a few centuries old, strong Eastern- style musical tradition. More importantly, they must have deemed this music, nowadays called “Ottoman-Turkish art music” or “Eastern-style Turkish art music,” as their own. Since they were approved by Turkish authorities as “Turks” in terms of nationalist’s definition of Turkishness, and their works were acknowledged by the state’s officials, the music they have known since they were younger must have been “Turkish” enough to incorporate its ele- ments into modern Turkish national style.

BIBLIOGRAPHY

1. Akses, Necil Kâzım, [in:] V. Sözer, Müzik Ansiklopedik Sözlük, 2. Alnar, Hasan Ferit, [in:] V. Sözer, Müzik Ansiklopedik Sözlük 3. Reforming Zeal İstanbul 2005. 4. Ataman S. Y., Atatürk ve Türk musikisi, Ankara 1991. , İstanbul 2005. Aracı E., Türk Beşleri’nin, “The Musical Eserlerinde Times” Gelenekli 1997, No. Müziklerimize 1855 (138). İlişkin Unsurların Kul- lanımları ve Bu Unsurların Kullanımları Ekseninde İki Örnek Piyano Eserinin Analizi, [in:] 5. Aydıner38. ICANAS M., (Uluslararası Asya ve Kuzey Afrika Çalışmaları Kongresi) Bildirler, 13. Müzik kültürü ve eğitimi, vol. 1, Ankara 2009. 6. Musıkiden Müziğe. Osmanlı/Türk Müziği, Gelenek ve Modernik 7. The Ottoman Musical Tradition, [in:] The Cambridge History of Turkey, vol. 3, ed. BeharS. Faroqhi, C., New York 2006. , İstanbul 2008. 8. BeharÇolak Y.,C., Ottomanism vs. Kemalism, Collective Memory and Cultural Pluralism in 1990s Turkey, “Middle Eastern Studies” 2006, No. 4 (42). 9. Deniz E., Cycles and Peripheries, An Ottoman “Kitâb el-Edvâr”, “Asian Music” 2007, No. 1 (38). 10. Erol A., Music, Power and Symbolic Violence, The Turkish State’s Music Policies During the Early Republican Period, “European Journal of 11. Feldman W., Cultural Authority and Authenticity in the Turkish Repertoire, “Asian Music” 1990, No. 1 (22). Cultural Studies” 2012, No. 1 (15). 12. Feldman W., Music of the Ottoman Court , Makam, Composition and the Early Ottoman Instrumental Repertoire, Berlin 1996. 13. Gökalp Z., Türkçülüğün Esasları, Istanbul 1968.

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14. Kaya E. E., Cumhhuriyet Sonoası Müzik Politikamız ve Batıya Yönelim, „SBArD Sosyal Bi-

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